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Remember when G4 stopped being "TechTV for young people" and became a general entertainment network? That worked out so well for them. I see nothing but good things for Polygon in this highy competitive market where readers don't forget and credibility matters.

There is no correlation between sexism, racism and creativity by the way. It's a nonsense statement from loony tune-in-chief, McIntosh. Creating a version of Annie with an all-black cast doesn't make the film any less of a lazy, creatively bankrupt remake.

Angry Joe succeeds when he taps into precisely what the overwhelming majority of people think. I don't doubt his sincerity but I definitely think he hates rocking the boat and that means telling people what he thinks they want to hear. After all, this is light entertainment. You can even get a sense of that in this review that Joe's arm was really twisted into giving a below average score. In other words, Joe isn't really that angry.

How do QTEs make you feel? Do you think you've accomplished something challenging? Do you feel a closer connection to what's happening in the game compared to other mechanics?

I think they're the absolute bare minimum of interactivity, the equivalent of pressing play on a remote. And yet the entire rhythm genre revolves around this mechanic with satisfying results.

What aggravates me about QTEs is its appearance in games where there are better mechanics in the game. I can walk, run or jump to the character I want to kill with any number of combos and just as many weapons - so why did the devs ignore all that? Why not just give me a button to change the camera angle if seeing the animation play out in a specific way the devs wanted is so important.

I guess I feel a little cheated by its shallowness. It would be nice to do some thinking about my actions when I play and instead of buying into expensive, photorealistic, triple A variations of Snap!

Because almost all discussion over Zoe Quinn's entanglement with Nathan Greyson was censored from every gaming related forum. There were only very few exceptions.

This is a huge difference compared to "Doritogate" where there was a lengthy dialogue about the fallout of Rab Florence's firing. Likewise, the controversy surrounding the media's evasive coverage of Mass Effect 3's flaws also generated open discussion even as the press tried similar standover tactics that we've seen lately to shut down dissent.

There's a reason why people don't go nuts every time a new ethical line is crossed that also explains why the press can act so defiant to its audience. There's a new turnover of gaming fans every year who don't follow this stuff and this is an industry that chases after new customers instead of retaining existing customers. It's why we hear from people who become jaded and sick of playing games while younger gamers are surprised at such a viewpoint. "I played the last Call of Duty and it wasn't that bad!" And then they play the next CoD and become the next crop of jaded, tired consumer. At some point this attitude would no longer be sustainable and that came when those existing gamers, already annoyed that their criticisms of the industry would just be ignored anyway, were censored en masse. I was shadowbanned for liking a Totalbiscuit Twitlong discussing this issue, it was out of control and made worse when it was learned that moderators were talking to people embroiled in the scandal.

It was bad enough when the press leapt to the defence of Mass Effect 3 or Devil May Cry or E.A. when it was voted the worst company in America twice in a row. However, now we can't even talk about some two-bit indie dev who might be milking a relationship in the press to boost her profile? Also, we don't even really exist! "Gamers don't have to be your audience", what a joke! We were never their audience in the first place - they're after the guy who knows nothing about the industry and can be played for a fool.

I've answered your question now answer mine. If this isn't about ethics, why is the press refining their ethics policies and retroactively inserting disclaimers to articles that GG brings to its attention?

The Order's non-interactive linearity was by design and had nothing to do with the pressures of crafting original content. The lead designer expressed very little enthusiasm for the game's mechanics and seems more interested in discussing the themes, setting and story: http://youtu.be/x9rbCfAWZgc

The 2D art looks so much like Klasky Csupo like I'm watching Duckman, it's great. I wonder how they'll polish the environments though because at this stage it's clearly unfinished. Perhaps the devs could pull SimCity's shallow depth-of-field trick.

The PS4 has reached a larger audience than the XB1 so it's more likely that people weren't brand loyalists prior to buying a Sony system. Although, more PS4 owners also had a PS3.

Really telling that the Blu-Ray player scores higher than the games library for the PS4 though. Is that a genuine drawcard given the ubiquity of Netflix and other streaming services or is that more about owners justifying their purchase by reciting its features?

Criticism of this series does exist on specialist adventure game forums full of snooty fans. The best insult I've read described Day of the Tentacle as a "plotless puzzlefest" where the flow of the story is completely disjointed by the insane number of puzzles a player would have going at the same time across three different timelines.

DOTT is an incredible accomplishment in adventure design where every location is opened up to you immediately after the intro without ever running into a deadend or out-of-context dialogue. So many adventure games today have the player solve all the puzzles in one room before moving onto the next room and that's even if the game has puzzles. That's better for the flow of the story but not nearly as impressive as what LucasArts accomplished at its peak.

I bet a lot of designers today would kill to achieve that same level of plotless puzzlefest that Tim Schafer and Dave Grossman mastered 20 years ago.

It's a dream come true. Whether the release of this game would have turned the Saturn's outlook around and completely decimate Sony and Nintendo, we'll never know... Okay that probably wouldn't have happened but it's great that we can at least determine if Sega fans were robbed of a groundbreaking title.

You made a great point about FMV. What people seem to forget is that developers really mastered the use of FMV towards the end of its popularity. Look at the releases in '97 before Half-Life brought about a "new normal" and you'll find games that masterfully applied video like The Last Express, The Curse of Monkey Island, Final Fantasy VII, Abe's Oddysee and Westwood's Blade Runner. It was just a tool to enhance immersion through narrative but used cautiously enough not to impede interactivity.

The Order failed in attempting to achieve the same goal but that ambition has been with gaming even when cinematic games don't appear popular. Try Cinemaware's The King of Chicago from 1987. It's a Telltale game from the '80s. The game's designer even wrote a long and interesting presentation about the same story-gameplay challenges that Telltale and Quantic Dream still face today: http://web.archive.org/web/20040404061317/www.channelzilch.com/doug/battle.htm

That's the story with this generation. Games with an underwhelming reception selling very well much like Watch_Dogs before The Order. It means nothing other than gamers starved for big budget next gen titles.

I think in the instance of reminding the player of a game's controls, it's acceptable. There's a big issue with people not finishing the games they buy and prompts can help close the gap if a player returns to a game after an extended period of not playing it.

I always feel a little disheartened when I see the industry's biggest names work on mobile titles instead of triple A releases. It's clearly where the money is but it feels like a waste of a talent's abilities. I want to see what they can do with millions of dollars.